HBO’s guards He begins with a re-enactment of the 1921 Tulsa massacre, setting the stage for the mystery of the involvement of masked police officers, a militia of white supremacists, and a reclusive billionaire genius.
Channeling the spirit of the historical commentary that permeates all 12 issues of the original graphic novel, Damon Lindelof’s Miniseries of 2019 ranks as an artistic sequel despite being one anyway. One of the myriad ways to do this is to refocus the novel’s subtle political lens away from the specter of the nuclear holocaust and into the shadows of American racism.
From the moment Angela Apar, aka Sister Knight (Regina King), discovers Tulsa Police Chief Judd Crawford (Don Johnson) hanging from a tree, the show feels haunted by the horrific American dance loops of racism throughout history. But the show’s periodic paradoxes aren’t just figurative—they’re also quite literal.
guards The use of time change serves as a story that allows two generations affected by racism to reconcile and heal through each other. It draws parallels with generations of color kinship in how their experiences travel through time informing their grandchildren.
Time travel rules he is inverse A special issue that explores the evolution of the most creative subgenre of science fiction. From Marty McFly to Avengers: Endgame.
A dose of nostalgia
It is almost impossible to write a quote from guards without wrestling with the fallout from Doctor Manhattan. When the show reveals that Angela Cale’s husband (Yahya Abdul-Mateen II) has been inadvertently a Manhattan all along, he manages to please and appease fans waiting for the disgruntled blue god to debut. But his role in the story isn’t just about providing an end goal to white supremacist Seventh Cavalry’s plans, nor is it adding yet another tragic love story to his checkered past. The presence of Manhattan on the show is a quantitative driver that drives the narrative.
While the murder of Judd Crawford by Will Reeves (Louis Gossett Jr.), Angela’s long-lost grandfather, is Technically The show’s instigating incident, we don’t really understand why until episode eight. That’s when Angela uses Manhattan time consciousness to ask her grandfather a question ten years later: How did he know Crawford was an active member of the Seventh Kavalry?
his answer? Who is Judd Crawford?
Through the eyes of Manhattan, this time the contradiction caused by Will’s ignorance and Angela’s despair must happen because Always Happen or occur. But on a deeper level than that, Angela and Will communicate through time and space as they are trapped in a generational curse as a result of the specter of American racism.
guards He constantly returns to the images of the Tulsa massacre, told through the eyes of the young orphan who would become Will Reeves because they are so deeply rooted in his psyche. They informed his decision to move to New York and join the NYPD because Bass Reeves’ teachings about “trusting the law” convinced him that he could right the wrongs that devastated his community by using the same system that enabled these grievances.
But Will (played by Jovan Adepo) soon discovers that the badge was not designed to work for him. The NYPD is a cover for the Cyclops, the elite precursor to the Seventh Kavalry, and they use primitive magic techniques to make blacks attack and brutalize each other.
Will and Angela’s narratives are Ouroboros loops.
Both Angela and the audience discovered it after she overdose on her grandfather’s prescription of nostalgia – a pill that allows the consumer to experience closed memories. Through these pills, Angela discovers another shocking truth – her grandfather was Hooded Justice, the first dressed adventurer and the only one whose secret identity was never discovered.
Nearly executed by his fellow police officers, Will donned the mask and noose as a repair to his tools of oppression and began waging a one-on-one war on white supremacist forces – a war that inevitably led to his murder, Judd Crawford.
Lindelof said the exhibition’s core themes are inherited legacy and the scientific concept of genetic trauma. Nowhere is this more on display than Angela’s decision to become Sister Knight. Angela’s parents were murdered just like her grandfather, an event that prompted her to join the police in a misguided attempt to seek justice in the past. Like Will, Angela decides to become a bodyguard in disguise in the wake of a violent attack by a white supremacist establishment.
Although they’ve never met and are removed from two generations, Will and Angela’s narratives spin on themselves as Will’s anger and unresolved trauma are noted over his granddaughter.
Will and Angela are far from the only characters on the show trapped within curses across generations. Mrs. Trio (Hong Chao), the reclusive genius billionaire who serves as the series’ final antagonist, also works to engineer her own narrative episode. Trio’s mother, Bien Mai (Elise Dinh), was a Vietnamese refugee who carried herself using her employer’s DNA, Adrien Vidt, also known as Ozymandias (Jeremy Irons), in retaliation for Fedt’s treatment of her.
Bayan hoped that her daughter would inherit the intelligence of the legendary Ozymandias. The show suggests that she also prompted her daughter to use her wits to do something that would atone for the United States’ forcible subjugation of Vietnam in guards alternate universe. However, May’s statement died long before she could watch what her daughter would grow up and do with her knowledge. So when she came of age, Trio decided to clone her mother and raise her to be her daughter.
In a literal, unsettling sense, Bayan II (Julie Huang Rappaport) is trapped in a genetic loop, brought up to believe she is a child but quietly afflicted by the nightmares and daydreams of the Vietnam War and life under oppression. In her desperate attempts to live up to the legacy imposed on her, Trio forces her mother to reclaim her trauma. By the end of the series, Trio’s death ensured that the episode would be repeated due to the second statement that testifies to her mother’s agonizing death.
The unresolved wounds left by the forcibly victorious United States in the Vietnam War is another time episode, real-world event born into endless paradox through science fiction.
Wounds need air.
However, unresolved wounds don’t only cross over to individual characters. the whole world from guards He lives under the trauma of the colossal psychotic squid that Adrian Veidt drops on New York City at the end of the original book. The Ozymandias hoax killed three million people in 1985, during the events known as 11/2.
As a result of the psychological shockwave felt by the survivors (as well as the intermittent rain of squid fed designed as a follow-up precaution), the world lives in constant fear of another dimension incursion. It’s like a black cloud hanging ominously over the world. People are always trapped, forced to relive that day in 1985 because for many people It still happens.
“Time is simply…stop.”
It is fitting, then, that the white supremacists orchestrating the events behind the scenes should be another reference to Ozymandias’ hoax – the giant. Just like the one-eyed monster Veidt he used to engineer World Peace, Cyclops is a tool for perversion and stasis. It is a cult that seeks to travel back in time to satiate its traditions, to relive a period when whites had all the power and everyone else belonged under their heels. Their power comes from shaping the historical context to suit their sinister ends.
World guards He avoids this by making the Redford administration acknowledge the atrocities committed in the Tulsa massacre. But in the real world, Tulsa is buried, stifling the truth for nearly 70 years. For the survivors of Tulsa and their descendants, the time is simply… just stand still.
Time and history are precious – our perceptions of such things can shape empires and destroy lives. For many people in the United States, the real pain is down to the genes of their family. These horrific experiences transcend time to cause anxiety and depression for generations who have not experienced these events before. But, guards It shows us that those intergenerational connections can set us free.
Angela lived in the circle of her grandfather’s wrath. Moved by his anger, she joined the same system that ruined his life and pushed him down a path that eventually split his family in two. However, a time paradox brings them together and gives them what they need to uncover and destroy the evil that has been working against them for nearly nine decades. While Dr. Manhattan does not exist in the real world, the power of legacy and family connection is there.
Will and Angela hid their shock, fear, and anger behind masks, and if the two never communicated, Angela would likely continue to do so. But under time-defying circumstances, Will was able to free his granddaughter with a few simple words, “You can’t heal under a mask, Angela. Wounds need air.”
Until America breaks the quantum loop that keeps racism alive and haunts people of color, things will never change. It is our duty to our ancestors to acknowledge the past, draw it into the light of day, and expose it for what it is. Because until we do, history will keep repeating itself, and the Doomsday Clock will always be in balance for five minutes from midnight.
In the words of Maya Angelou, “History, despite its excruciating pain, Not possible non-pensionedBut if you encounter courage, We don’t have to live again.“
guards Streaming on HBO Max.